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jasapaal
 Into the Rhythm
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1957: Maynard Ferguson - Boy With Lots Of Brass |
Swing, Mainstream, Vocal Jazz |
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 Artist: Maynard Ferguson Album: Boy With Lots Of Brass Label: Fresh Sounds Records Year: 1957, release: 2007 Quality: MP3@320 kbps Size: 81,8 mb Total time: 36:17 From March 1, 1957, when the Ferguson band on this CD was organized and went on the road, it had not had a layoff before these recordings. Ferguson astutely identified what may have been the most potent reason for his band’s prosperity: “It’s very important that anybody who has anything to say on his instrument be allowed to say it in a band. That’s why having 12 men in the band has made it easier to make everyone happier than would have been the case if I’d had 18.” The group gets a virile sound, playing crisply, musically and with fire, with some of the main excitement deriving from the full ensemble and section passages. And adding to this quality of excitement is the individual calibre and energy of his young soloists, along with that of the leader, who blows excellent valve trombone and trumpet. ~ Fresh Sounds RecordsAfter his specially assembled "Birdland Dreamband" broke up, trumpeter Maynard Ferguson put together a regular big band that would exist for the next decade. This Mercury LP features his 13-piece unit at a time that it featured trombonist Jimmy Cleveland, Willie Maiden on tenor, altoists Jimmy Ford and Anthony Ortega, pianist Bobby Timmons and singer Irene Kral; the latter is heard on four of the dozen standards that make up the album. The arrangements are by Maiden, Al Cohn, Bill Holman and Ernie Wilkins and they show off the talented orchestra and its memorable leader quite well. ~ Scott Yanow, All Music Guide |
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1977-1978: Trevor Pinnock - Harpsichord Toccatas (Johann Sebastian Bach) |
Music |
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 ÔÈÀËÊÈ ïî ÑÐÅÄÀÌ (âûïóñê 74)  Composer: Johann Sebastian Bach Artist: Trevor Pinnock Album: Johann Sebastian Bach: Harpsichord Toccatas Label: Archiv Produktion Year: 1977, 1978 Genre: classical music Format, bitrate: mp3, 320 kbps Time: 1h, 33 min, 21 sec. Size: 110+114 mb. Èòàê, ïîñëå êðàòêîâðåìåííîãî ïåðåðûâà, âûçâàííîãî ìîèì çàêîííûì æåëàíèåì îòäîõíóòü, öâåòî÷íàÿ ëàâêà âíîâü ðàñïàõíóëà äâåðè ïåðåä áëàãîäàðíûìè ïîñåòèòåëÿìè. Òàê óæ èñòîðè÷åñêè ñëîæèëîñü, ÷òî ñåãîäíÿ, 28 èþëÿ, â ñðåäó èñïîëíÿåòñÿ 260 ëåò ñî äíÿ ñìåðòè âûäàþùåãîñÿ íåìåöêîãî êîìïîçèòîðà Èîãàííà Ñåáàñòüÿíà Áàõà. Íó, îòìå÷àòü ãîäîâùèíó ñìåðòè, ýòî êàê-òî íåìíîæêî íå î÷åíü, à âîò ïî÷òèòü ïàìÿòü òèòàíà, ïîæàëóé, ñàìîå îíî. Òàê äàâàéòå æå ïîñëóøàåì ñåãîäíÿ áàõîâñêèå êëàâåñèííûå ñîíàòû â èñïîëíåíèè áðèòàíñêîãî ïèàíèñòà Òðåâîðà Ïèííîêà.
Èòàê... |
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2006: Ignacio Berroa - Codes |
Music » Jazz » BeBop » Post-bop |
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 Artist: Ignacio Berroa Album: Codes Label: Blue Note Records Year: 2006 Format, bitrate: MP3, 320 kbps Size: 89.12 MB It's difficult to believe that after 26 years of playing in name jazz ensembles -- most notably Dizzy Gillespie's from 1980-1990 -- that Codes is Ignacio Berroa's debut album as a leader. Berroa is one of the most in-demand session and concert drummers in jazz, having played with everyone form Chick Corea to Chico Baurque, from Charlie Haden to Tito Puente and João Bosco. And on Codes, the title's meaning is reflected in its contents: jazz itself is a coded language, one that contains hints, traces, specters, pronouncements, and about what's informed it, and how it in turn reacts and informs its culture. Berroa's ensembles are as various as the musical languages he speaks, yet they are all, he says in his beautiful liner essay, his vision of Latin, or, he refers to Mario Bauzá's tag, Afro-Cuban jazz. And so they are. Jazz was Berroa's early love; his heritage, however, is Latin, and he has always, wherever he has appeared, brought both to bear in some fashion in his playing. On Codes, he seeks to express that wide, bountiful basket of color, freedom, experiment, and of course rhythm; he employs two saxophonists, David Sanchez and Felipe Lamoglia, separately and together; pianist and keyboardist Gonzalez Rubalcaba, and pianist Eddie Simon likewise contribute; both John Pattitucci (acoustic bass) and Armando Gola (electric and acoustic bass) are on this date. There are no less than five percussionists who appear variously. Berroa mixes his languages and creates codes through the album. On the opener "Matrix," both synth and acoustic piano are employed, as are acoustic and electric basses and dual saxophones. Here, post-bop and Latin rhythms touch on knotty funk grooves. The bebop of Gillespie meets the immediacy of post-bop and striated Cuban rhythm on "Woody 'N' You." But the album's true hinge piece is the nine-and-a-half minute "Joao Su Merced." Here electric and acoustic keyboards, three percussionists in addition to Berroa's drums, electric bass, and Lamoglia's soprano begin with Afro-Cuban rhythms engaging groove, funk, and electric jazz Miles-style. Bebop cuts in on the dance for a bit at the halfway point, the outside struts in and blows on the soprano solo, the grooved-out soul-jazz reenters for a bit before the cut is taken out in a percussion and chant orgy of rhythm before whispering into the post-bop "La Comparsa," a ballad done with counterpoint This cut alone makes the album worth the purchase price, but there isn't a single seam in it; not one substandard moment. This is fresh, compelling, visionary music. Let's hope this is the first of many offerings for Berroa as a leader.~ Thom Jurek, All Music Guide |
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1983: Wadada Leo Smith - Procession Of The Great Ancetry |
Modern Jazz, Freejazz |
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 Artist: Wadada Leo Smith Album: Procession Of The Great Ancestry Label: Nessa Records Year: 1983 Release: 2009 Format, bitrate: mp3, 320kbps Time: 47:01 Size: 104.63 MB AMG Rating:  Recorded in 1983 in Nessa's Acme studio in Chicago, Procession of the Great Ancestry is among Wadada Leo Smith's most obscure, but ultimately most satisfying, recordings. Featuring Kahil El'Zabar, Louis Myers, Joe Fonda, John Powell, Mchaka Uba, and Bobby Naughton, this was the first album to showcase Smith's expansive vision, which included all forms of black music -- from the myriad languages of jazz to gutbucket blues, reggae, and various African folk musics as well as a little R&B groove for measure. It was also the first to feature his wonderful vocals as a mainstay on his projects. Fans can think of this disc as Kulture Jazz, Vol. 1, with a band. The disc opens with "Blues: Jah Jah Is the Perfect Love," a deeply moving blues that is equal parts funky backbeat and Nigerian rhythm with a reggae groove. Smith sings with soul as the band weaves a magic spell around him. This is immediately followed by the title track, a gentle but very abstract piece written for Miles Davis that incorporates Davis' modal science and Smith's sense of space and dynamic. This is the first of four pieces for trumpeters; the next work, "The Flower That Seeds the Earth," is for Booker Little, and "The Third World, Grainery of Pure Earth" is for Roy Eldridge. Track six, "Celestial Sparks in the Sanctuary of Redemption," is for Dizzy Gillespie. All of these works are in the free jazz mode, but their gentleness is their attraction. Smith here is playing a poetic balladry for these men, while musically elucidating his cosmology -- the rhythm section is so attuned, so finely restrained and tasteful, Smith could sing it out if he wanted to, but instead he creates long melody lines that whisper to completion. The set closes with "Nuru Light: The Prince of Peace," a short processional in minor mode that has Naughton's vibraharp playing fills under the horn lines and through El'Zabar's brushed drums. After its deeply moving, sonorous theme, a pair of kalimbas and the vibraharp play a lullaby to balance the weight, taking it out with enough grace and elegance to make the listener nod in wonder before playing it again.~ Thom Jurek, All Music Guide |
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2006: Fred Anderson - Timeless: Live at the Velvet Lounge |
Post-bop, Avantgarde |
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 Artist: Fred Anderson Album: Timeless: Live at the Velvet Lounge Label: Delmark Records Year: 2005; release: 2006 Format, bitrate: mp3, 320 Size: 166 mb AMG Rating: "Complete with shifting modalities and Herculean deliberations, this album easily looms as a top pick for 2006. Here, Anderson's musical persona intimates a soulful edge, complementing a mode of attack that could only have been directed towards a higher entity! Zealously recommended." - Glen Astarita, All About Jazz Fred Anderson. Harrison Bankhead. Hamid Drake. For those in the know, that's practically a guarantee of a good performance and Timeless: Live at the Velvet Lounge doesn't disappoint. It captures the 75-year-old saxophone titan with his working trio, live on his home turf at Chicago's (and Anderson's) Velvet Lounge. Fred Anderson is a supremely melodic and patient improviser who is never short on ideas but is never in a rush to get them out. Combine that with an amazingly gifted and responsive rhythm section and you get pieces that are so inherently tuneful you might be surprised they're free improvisations. The whole performance is practically a non-stop series of highlights, although the title track alone might be worth the price of admission. The interplay between these players is simply amazing; improvised music doesn't get much better than this.~ Sean Westergaard, All Music Guide |
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1967-1968: Kenny Burrell - Blues - The Common Ground |
Music » Jazz » BeBop » Hard-bop |
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 Artist: Kenny Burrell Album: Blues - The Common Ground Label: Verve Years: 1967-1968 Format, bitrate: MP3, 320 kbps Time: 38:09 Size: 85.1 MB When it comes to Kenny Burrell, a title like Blues -- The Common Ground speaks volumes. His approach always keeps in mind the connection of jazz to the blues, infusing his guitar with a soulful, hard bop edge. Recorded in 1967 and 1968, Blues -- The Common Ground finds Burrell backed by lots of brass and wind instruments for most of the album, hardly his usual setting. But his guitar successfully weaves in and out of songs like "Every Day (I Have the Blues)" and "Burning Spear," blending with the band and creating a pleasant balance. Much of this works thanks to arranger Don Sebesky's tasteful settings. Sebesky seems to have an instinctive grasp of when to sit on the band and when to let it fly loose. There's the late-night, gentle feel of "Angel Eyes," and the more animated setup on the title cut. The only time this doesn't work is on pieces like "The Preacher" and "See See Rider," where the upbeat horns and shrill flutes remind one of a "groovy" soundtrack from a bad '60s movie. It's also interesting to note that the album's unusual song choices, like "Everydays" by Stephen Stills, do find common ground in the blues. There's a beautiful, short solo piece, "Were You There?," and two quartet pieces, "Sausalito Nights" and "Soulful Brothers." Blues -- The Common Ground holds up well, and the 2001 reissue offers Burrell fans a cleaned-up version of this fine album. ~ Ronnie D. Lankford Jr., All Music Guide |
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